Already this is shaping up to be an exciting year for the Academy.

We kicked off classes 9/1/12 and began a series of lessons aimed at reviewing the entire grading curriculum at the rate of a level per week which will continue until early March.

Shifu and Karen welcomed a baby girl into the world mid January, Melody Parks, and would like to thank everyone for their kind wishes and support.

We have set the grading/event timetable for 2012 and it is as follows:

15/2/12 - Practice grading 1

29/2/12 - Grading 1

April TBA - Full Day Workshop

25/4/12 - Practice Grading 2

30/5/12 - Grading 2

July TBA - Guest Workshop - at this time it looks like an intensive intro to MMA

25/7/12 - Practice Grading 3

29/8/12 - Grading 3

October TBA - MGA Tournament - Forms, weapons, sparring under MGA rules

24/10/12 - Practice Grading 4

28/11/12 - Grading 4

December/Jan 2013 - Canberra workshops

MGA has a regular training group that has been growing steadily since 2011 and is looking to make a transition from training group to official branch in December this year. Grading syllabus is already running through our distance education program and there will be more updates on this throughout the year.

Launceston branch will be trialling a new venue starting 1/2/12 and will be instead of Wednesday nights at UTAS for the month of February 2012.

During February 2012 classes will be

Monday Nights 7:00pm-9:00pm - KAOS Dojo, Wellington St Launceston above Domino’s Pizza

Wednesday Nights 7:00pm-9:00pm - Windsor Precinct, Community Hall, Windsor Drive, Riverside.

Windsor Drive is only new and may not appear on maps but coming from the city turn right at the Eccleston Rd intersection.

Here is the link to the West Tamar Council website which discusses the Facility in detail

http://www.wtc.tas.gov.au/index.php?option=com_content&view=article&id=156&catid=1&Itemid=1

We will be in Area “P”.

There will be a lot more content going up on the website this year and in addition to more articles and clips there will be a big step forward in content for subscribers and in our distance learning program so stay tuned.

Thank you to everyone for making 2011 such an enjoyable year and we look forward to even more in 2012 - the year of the Dragon.

Classes resume tonight 7:00pm on Wellington St as per usual.

if you would like further details please phone Jason on 0409 046 135.

At the end of last year, in class, we had a discussion about putting some form walkthroughs online for members.

Well here they are!

These clips are completely unedited so sometimes I do go off on strange tangents but the correction follows so not too worry too much.

Also they are shot in a car park with me fat and wearing a tracksuit so hence “unauthorised”. Authorised would be me fat and wearing a uniform.

They are as follows:

Da Mor Quan - Bodhidharma Fist

Previously thought lost, this expanded and more advanced variation on the 18 Lohan Hands was lovingly restored by the Shaolin Master Shi De Shui. I was very fortunate to have learnt this from him in 1994 and so we are able to practice it today. This form remains one of the rarest forms of Shaolin Temple surviving today.

Qi Xing Quan - Seven Star Fist

This style demonstrates the Shaolin Close in body method and is a Rooster style form. This form is very effective against kickers.

Shi Ba Shou Lohan Quan - 18 Hands of Lohan Boxing

A surviving version of the original fist form of the Shaolin Temple.

Lien Huan Chang Quan - Continuous Long Fist

Part of the family of forms that expand Wu Bu Quan.

Wu Xing Ba Fa - Eight Laws of Five Animal Fist

An excellent introduction to the movements and concepts of the Tiger, Crane,Leopard, Snake, and Dragon.

Qi Mei Gun - Eyebrow Height pole

Simple and comprehensive. This form is one of the most effective pole styles to be taught to beginners as it is easy to learn and apply and yet with a depth of application.

Shaolin Dan Dao - Shaolin Single Broadsword

A modern style of Shaolin Broadsword. Obviously based on the framework of the Qi Mei pole. this form is so fundamental in application that it can be successfully applied to almost any short class of weapon.

Xiao Hong Quan - Small Flood Fist

The modern standard of Shaolin practice.

That should keep you all off the streets and out of trouble for a little while.

All always if you have any questions please contact me of better yet post a comment.

Kind regards

Shifu

Thank you all for making this yet another enjoyable year of sharing Gong Fu and I look forward to doing it all again next year.

As a bit of a present I would like you to please enjoy this amazing display of Qi Gong as recorded by my teacher De Chuan during a visit to China.

I also ask that you please respect the privacy of the monk involved and not share this clip.

http://www.youtube.com/watch?v=vgmszhCdeaw

Here are the contact details for the centre.

Telephone:

Email:

Address:

Remember to please bring training clothes, including shoes, towel ,drink bottle, lunch and snacks, journal and pens and broadsword or similar (bokken or short stick).

For any further details please email me or contact Qi Therapy Centre.

At Shaolin Da Mo also met with resistance to his methods and so he moved to out of the monastery proper and into a cave near Shaolin. Da Mo lived in this cave for nine years perfecting his message and deepening his understanding of his own practice and of the requirements of the monks of Shaolin.

Small Sleeping Lohan

Before he left Shaolin, Da Mo passed on to the monks the principles of Cha’n (Zen) Buddhism, Sinew/muscle changing exercises, marrow washing meditation, and self defence principles contained in the form Eighteen Hands of Lohan. Most importantly, through the use of the form and the concepts contained within, Da Mo had laid a foundation for combat training as a form of personal and spiritual development system instead of just for war. For this last reason most Asian martial arts systems honour Da Mo as the founder of martial arts.

Before becoming a monk Da Mo had been a member of the Indian warrior caste – Ksatreya. As Ksatreya, Da Mo would have been fully schooled in the skills and strategies of war and as a monk he was able to see his prior training as a means of developing spiritual clarity.

By combining the two principles into a routine Da Mo had a vehicle for his teachings that survive to this day.

In Shan Men Shaolin Quan the form of Eighteen Lohan Hands (Shi Ba Shou Lohan Quan) introduces a wide range of key principles to the practitioner. Each one of the Eighteen ‘hands’ can be applied as a simple self defence technique but each is also a concept that can be expanded out into a huge variety of techniques.

Eighteen Hands of Lohan contains efficient defences against punches, kicks, grabs and holds, as well as counters to weapon attacks. In its expanded form it contains complete formula for the dissolving of grips, reversing of locks and holds, construction of locks and the principles of throwing and takedowns. It also contains key concepts on evasive footwork, short range striking and the generation of wave power. Most importantly the 18 Hands of Lohan shows the very roots of Shaolin Gong Fu and gives us the ability to see the bigger picture of Shaolin Quan.

Lion Opens Mouth to Roar

In Shan Men Shaolin Quan the Eighteen Hands of Lohan is taught at Level Four so that the practitioner already has a foundation in Shaolin Gong Fu. This form is also the prerequisite for the more mainstream Shaolin work such as Xiao Hong, Da Hong, Pao Quan, Wu Xing Ba Fa and so on.

Shi Ba Shou Lohan Quan (Shaolin Eighteen Hands of Lohan)

The Eighteen Hands of Lohan sets the conceptual foundation of Shaolin Boxing.

This form is small but contains layers upon layers of functionality. The Eighteen Hands of Lohan teaches direct and effective applications that can be used with even minimal training.

Shi Ba Shou Lohan Quan is a Tao Lu form.

Salute

Return to Thunderbolt Step, fists raised on the waist

1.       Cross palms, bind and present

2.       Plant onions in the mud, slap palms in Shrink Step

3.       Plant onions in the mud

4.       Double sweep hands and double push in right forward step

5.       Call earth to witness, cut hand over and plant onions in the mud

6.       About face, Dan Tien cannon

7.       Loin roars right and left

8.       Scissor fist Shrink Step

9.       Double elbow strikes

10.   Cloud hands and strike the seven stars

11.   Horse step and double claws

12.   Wind catcher palm to the left

13.    Supporting heaven palms

14.   Golden rooster on one leg

15.   Clear and punch three times

16.   Turning elbow

17.   Cross wrists, bind and repel

18.   Small sleeping Lohan

19.   Fang sung to finish

Shaolin Lien Huan Quan is the second in a series of three introductory fist forms in the Shan Men Shaolin Quan curriculum. The three forms are Wu Bu Quan (Five Step Boxing), Lien Huan Quan (Linked Rings Boxing) and Lien Huan Chang Quan (Continuous Long Boxing) and together they form a complete system of martial arts.

Lien Huan Quan is broken down below by the count, with each element of each step broken down by implementation and function. There is a video walk through as well to assist.

Table of Steps

• Salute
• Step 1
• Step 2
• Step 3
• Step 4
• Step 5
• Step 6
• Step 7
• Step 8
• Step 9
• Step 10
• Step 11
• Step 12
• Finish

Salute

Salute is not included in this as it has been well covered in other posts. This form starts from the Thunderbolt Step with Fists on Waist position.

Step 1

1.1 Lift foot and anchor fist

Draw the left foot up to raise the knee. The left fist screws down to the inside of the foot in the movement of an Anchor Fist. The whole left arm is engaged at completion of the movement. The eyes look to the fist when punching and then return to look left at completion of the punching movement.

Function

The foot may be used to catch an attacking leg and the fist punches down to strike the attacking foot.

1.2 Rebound fist

Stepping down to the left into a left foot in front forward step, the left arm rolls down and over so that the force of the movement travels from the elbow to the back knuckles of the fist. Look to the left. The right fist remains fixed on the waist.

Function

Roll the arm to strike with the back of the knuckles.

1.3 Pull in and punch

Continue to exhale, push from the feet, through the legs to the hips and out through the first two knuckles of the right fist. Continue the pushing action until the arm reaches full extension. Left hand pulls strongly back to the left hip.

Function

Allow the force in the body to spiral out through the first two knuckles of the fist. The left fist is strongly pulled back to the waist to help generate power in the punching arm.

Step 2

2.1 Transition of weight forward

After holding the previous position for a split second push through the knuckles of the extended arm and allow this push to continue until your weight is over the front foot. The rear leg draws up behind and the rear leg transfers the weight forward to the hip.

Function

This action creates the optimal load for the following movement. This transition also creates a pylometric contraction of the kicking leg.

In instances where the punch arm is seized and you are pulled forward this transition allows for a strong recovery of vertical alignment and with that balance and weight to create force.

2.2 Load kick and punch

As the transition continues the kicking foot travels through and into a high load position. At the same time the extended arm is pulled back strongly to the waist.

Function

The tight loading position brings the balance and weight forward to allow for maximum force generation with the next movement, both with the kick and the punch.

The retraction of the extended arm also allows for maximal contraction of the waist resulting in faster and stronger movement.

The retraction of the extended arm allows you to pull yourself forward into the attacker with a strong knee drive.

2.3 Heel kick and punch

The transition continues and the left fist continues to full extension. The right leg continues through with the foot draw back so that the bottom of the heel becomes the primary striking surface.

Function

Continuing on from the previous functions, the arm and leg reach their full extensions striking with the fist and kicking with the heel of the foot. The key point to this technique is that the fist and foot attack on bisecting lines which makes the technique very difficult to defend against.

2.4 Reload

Draw up with the toes of the kicking leg so that the foot is reloaded close to hips and so that there is a lift through the core of the body. The punching hand remains extended and there is a focus of intent out through striking knuckles.

Function

After the heel kick the retracting leg can hook behind the opponent’s knee to break balance and draw their pelvis forward.

2.5 Lock down step

Step down onto the heel of your right foot.

Functions

The foot steps in and down to trap the opponent’s foot and setting up the punch that follows.

2.6 Lock down horse step punch

Step down strongly to the front. Lock down through the front leg and follow through with the waist to drive the right fist forward, straight out from the shoulder. Look down the line of the extended arm.

Function

1. The fist punches forward using the lockdown of the Horse Step to optimise waist power.

2. The punching action may be used, in conjunction with the Horse Step, to break the opponent’s balance.

Step 3

3.1 Draw in to escape

As you begin exhaling, start to rotate the right fist down and to the palm up position. Draw strongly across the front of the body with the right fist. The waist pulls the previous horse step across into an arrow step to generate whole body power. Eyes look to the finish position of the right fist.

Function

Against a restraining grab of the wrist or arm the rotation of the wrist combined with the strong drawing action of the whole body creates a forceful break of an attacker’s hold and plyometrically loads a counter strike with the same arm.

3.2 Ocean floor cannon 1 – sweep fist

As you start to inhale strongly raise the right elbow into forearm into fist in a sweeping action to the right side. At the same time the left hand opens and the fingers of the left hand spear downward to the outside of the left knee. The weight shifts across to the left foot and the right foot raises up to load the following movement.

Function

Having escaped the wrist grab you can use the plyometric potential of the break of grip to wind up a strong sweeping action of the right arm. Aim to strike with the elbow but continue the movement so that it also strikes with the forearm and fist in one action. If the attacker was to draw their head back to avoid the elbow the forearm and fist can pursue them as the movement unfurls.

3.2 Ocean floor cannon 2 – cannon

Tightening the pelvic floor muscles and pulling down with the left leg, the flat sole of the right foot stamps the floor. The right fist travels to the left palm and settles in front and below the knees. As this happens tighten the lower abdomen and verbalise the resonator ‘Ji’ (pron: Zhee).

Function

Grabbing the waist of the attacker and bringing the entire body weight down into a punch of the pelvis. The term Ocean Floor denotes the energy centre that resides at the perineum.

Step 4

4.1 Tiger charging fist 1 – ox horn bridge and charge step

Eyes look to the right. Step out with the right foot and raise the right elbow until the forearm is slightly higher than horizontal. The left hand pulls up to the waist in a fist and the left forearm aligns to create a straight drive in the next movement.

Function

From a low position hooking up and back with the elbow to cover the head and lay the forearm over the attacking limb. At the same time, charge in under the attacker’s guard with a swift step.

4.2 Tiger charging fist 2 – horse step punch

Step in under your raised right forearm so that the wrist is slightly higher than the head. Lock down through the front leg and follow through with the waist to drive the left fist forward, straight out from the shoulder. As you punch tighten the lower abdomen and verbalise the resonator ‘Ha’.

Look down the line of the extended arm.

Function

1. The fist punches forward using the lockdown of the Horse Step to optimise waist power.

2. The punching action may be used, in conjunction with the Horse Step, to break the opponent’s balance.

3. In both cases the Ox Horn Bridge is used to threaten the attacker and if they are unresponsive it punches in the way a bull gores with a sharp turn of the head.

Step 5

5.1 Right Hong palm - compression

Circle the front hand in and upward until the elbow settles in front of the waist. The fingertips of the front hand finish the movement pointed at the attacker’s throat. The rear hand passes forward and over to trap/catch with the palm/open hand.

Function

The circling in movement is used to compress from an expanded position. This movement has a wide variety of uses but is of huge benefit in the application of Chin Na reversals against grips or holds to the arm. The rear hand action is usually, but not always, defensively to cover while the front hand is circling in.

5.2 Hong palm – expansion 1 – spear hand

Charging out from the compressed position the front hand settles through the back of the forearm (bridge) and out through the fingertips. The rear hand settles down into a cover hand position in front of the waist.

Function

The front hand bridge settles down and onto the opponent’s attacking limb to redirect the incoming attack (if needed), as the movement continues the fingertips move into an offensive position where they may stab the throat or eyes. The rear hand settles down to protect the ribs and waist by covering the opening under the front arm.

5.3 Hong palm – expansion 3 – settle of the palm

The forward settle of the front hand continues from the fingertips into the heel of the palm. As the waist unwinds the palm settles forward and down with a coordinated line of force from the back foot right through to the front palm. The palm settles down the knife edge of the palm and into the base of the thumb and not into a flat palm face.

The rear hand rolls back and finishes in a palm up position on the waist.

Function

The front palm action has a wide variety of functions but all stem from the settling of body weight and power down through the palm. Most commonly this movement is used to strike with the palm. The rear hand rolls back to assist in a two pressure locking function of the wrist.

When both arms are used as a single unit the function can be a wrapping hold of the shoulder.

5.4 Left Inside Hong palm - compression

Without moving the feet, press down with the front hand to trap. At the same time the rear hand lifts to the side of the face. Eyes remain looking to the front

Function

The front hand is trapping the attacking limb with the palm as the rear hand loads in preparation for the next movement.

5.5 Left Inside Hong palm – expansion 1 – spear hand

The rear hand settles through the back of the forearm (bridge) and out through the fingertips. The rear hand settles down into a cover hand position in front of the waist.

Function

The front hand bridge settles down and onto the opponent’s attacking limb to redirect the incoming attack (if needed), as the movement continues the fingertips move into an offensive position where they may stab the throat or eyes. The rear hand settles down to protect the ribs and waist by covering the opening under the front arm.

Left Inside Hong palm – expansion 3 – settle of the palm

The forward settle of the rear hand continues from the fingertips into the heel of the palm. As the waist unwinds the palm settles forward and down with a coordinated line of force from the back foot right through to the palm. The palm settles down the knife edge of the palm and into the base of the thumb and not into a flat palm face.

The rear hand rolls back and finishes in a palm up position on the waist.

Function

The rear palm action has a wide variety of functions but all stem from the settling of body weight and power down through the palm. Most commonly this movement is used to strike with the palm. The front hand rolls back to assist in a two pressure locking function of the wrist.

When both arms are used as a single unit the function can be a wrapping hold of the shoulder.

Step 6

6.1 Hook hand

Reaching forward with bunched fingertips the hand hooks forward and down.

Function

The hook hand inserts over and around an attacking limb in preparation of the following action.

6.2 Hook hand and brace arm

Pivot through the waist into an arrow step to change direction. At the same time the left hook hand sweeps back and down to behind the left thigh. The right forearm sweeps across in front of the body and settles as a brace to the left side.

Function

The left hand hooks down and across to catch an attacking limb. The right forearm braces down to lock or hold.

6.3 Double hooks to clear

The left hand remains where it is as the right hand bunches the fingers to hook down and to the rear.

Function

Right hand clears behind to protect flank.

6.4 Pivot clear and load palm

Using an arrow step to pivot, turn to the right. At the same time the rear hand lifts to the side of the face. Eyes look to the right.

Function

The front hand is trapping the attacking limb with the palm as the rear hand loads in preparation for the next movement.

6.5 Repel palm

Left hand creates an inside Hong Palm as the right arm remains fixed.

Function

Using the hook hand to catch and attacking limb such as from a front kick, the palm settles into the attacker’s chest to repel. This is to break the attacker’s balance and throw them down.

Step 7

7.1 Crossed slap foot 1 – transition forward and strike with palm

Shift the body weight forward and onto the right foot. The left palm remains strongly presented to the front.

Function

The left palm shunts forward to unbalance and attacker in preparation for the following action. The weight transitions forward at the same time to create power in the stroke to follow.

7.2 Crossed slap foot 2 – wrap around

Keep the left palm strongly presented and at the same time the right palm wraps around to load at the side of the left ear.

Function

The right palm is used to deliver a strong percussive strike to the face or ear or the attacker and to load for the action to follow.

7.3 Crossed slap foot 3 – slap foot

The left foot swings forward and up with a slight whipping action on the kicking stroke. At the same time the right palm sweeps across and meets the outside of the foot at approximately shoulder height.

Function

The principle of the slap foot is one of the most devastating kicking actions of classical martial arts. This action works by whipping with full commitment from the waist. As a result this kicking action is used to break bones such as the pelvis, upper arm or jaw. At the same time that the kick is delivered the right hand sweeps to the outside striking and aligning the target for the powerful kick.

7.4 Step down to cover

As the foot descends the right palm raises into a cover hand position above the right side of the head. The left hand rests in front of the right armpit/ribs in preparation for the action to follow.

Function

The right cover hand rises to guard your face as you move forward.

7.5 Charge in with palm (Escape through the back)

Using the principle of the Hong Palm the left leg charges out into a forward step and at the same time the left hand settles the palm forward.

Function

Having successfully defended the face/head from attack by using the cover hand you charge in under the attacker’s defences and strike them with the palm.

Step 8

8.1 About face and cover

Look right under the raised arm. Pivot on the ball of the left foot and draw the right foot in to form an empty step about face. At the same time the right arm folds to cover the right side of the head and the left hand covers the ribs/armpit.

Function

When performing any action we become vulnerable to another angle of attack. In this function we recover our apparent weakness by “closing the door” on the right side.

8.2 Clear down

Draw the right foot up and in to form a defensive leg action. At the same time the right hand closes into a fist and clears down by the outside of the right leg. The left palm lifts slightly to cover the face.

Function

As the previous movement covers the head and chest the obvious opening (to the attacker) is the lower body – either to the right leg, groin or abdomen. By drawing up the leg any attack that may capitalise on this opening may be defended by the scissor action that is caused by the rising leg and descending arm. A key lesson that appears in this movement is that when defending high and low are covered by the defensive action. It is a common error to lower the left hand to cover low as this leaves the face open to a combination attack.

8.3 Closing the door left

As the right foot touches the ground the weight transitions forward onto the right foot. The right fist opens and draws up and in to cover the chest as the right hand lifts up an across to cover the left side of the head. At the same time the left leg lifts to create a barrier on the left side. Look forward from inside the barrier.

Function

By shifting the weight forward and across you can create a strong barrier against a heavy onslaught by an aggressive attacker. In this movement your elbow, knee and foot all move into a position to spike the attacker and to open them up to a variety of counter attacks. To realise the potential of this principle you must be prepared to hold your ground and not cringe away from the attacker.

8.4 Elbow sweep 1 – step in and roll forearm

Step down to the front with the left foot. As the foot touches the floor the weight shifts forward to create a left forward step. The left hand closes into a fist and the left elbow strongly presents forward. The right open hand remains in the same position

Function

The strong transition of weight forward in combination with the roll of the forearm creates an unbalance in the attacker’s centre. This can be used to knock the attacker down.

8.5 Elbow sweep 2 – elbow sweep and punch

Roll the left elbow up, forward and out until the face of the fist comes to rest on the side of the head. Driving through the legs and waist the right hand collapses into a fist and punches forward. Eyes look down the line of the punch.

Function

By using the principle of the elbow sweep you can clear away an attacker’s upper body and break their balance. In combination with the forward step, the connection between upper, middle and lower aspects of the trunk can be split which switches off their ability to use their body weight against you. From this split position the attacker is extremely vulnerable to counter attack which is what the collapsing punch provides.

Step 9

9.1 Buddhist hands and double punch 1 – sweep palms upwards

Strongly present the right fist as the left hand opens and sweeps up to the front. When both hands are parallel the right fist opens. Both hands then continue to sweep up and back to form a palms together salute above the head

Function

From the extended position of a fully extended punch the hands sweep up to draw an attack up and over the head.

9.2 Buddhist hands and double punch 2 – split hands and knee

Settle the weight back onto the left foot and the right foot lifts to raise the knee. At the same time the open hands split to either side of the head.

Function

Against a lunging grab at the neck the backs of the hands can be used to split the force of the grip up and over the shoulders which draws the attacker’s weight up and forward exposing them to a knee attack to the belly or groin.

9.3 Buddhist hands and double punch 3 – settle bridge and knee

After the prior splitting movement the arms reverse their action to settle forward and down, then drawing in to finish at the waist. There is a switch of the feet with the right foot stamping down as the left knee drives strongly upwards.

Function

By reversing the action the attacker’s hands that were just lifted up are strongly drawn forward and down. At the same time the knee drives up to strike the chest or face.

9.4 Buddhist hands and double punch 4 – double punch

With the weight settled firmly on the right foot you charge forward into a left forward step. Both hands collapse forward in a double punch attack.

Function

As the previous knee strike drives the attacker’s body up we allow our forward momentum to continue into a powerful double punching attack forward. If we land this punch firmly on the chest the attacker is usually repelled backwards and completely out of the fight.

Step 10

10.1 Clap hands slap foot 1 - Spear hand

After punching forward the left fist opens into a finger thrust forward and up. The right fist also opens and settles in front of the chest. Eyes look to the front hand.

Function

After the previous punching action and without retraction the hand converts into a finger thrust to the attacker’s neck or eyes.

10.2 Clap hands slap foot 2 - Strike palm

The back of the right hand rises sharply up to clap on the left palm. At the same time the weight transitions forward onto the left foot.

Function

The base function of this movement is to perform a sharp clap in the attacker’s face to cause them to flinch, close their eyes and pull their head up and back.

10.3 Clap hands to slap foot 3 – slap foot

The left hand stays where it is as the right palm descends forward to meet the top of the foot in a slap foot movement. The fingers turn slightly out and the thumb separates to the side so that the foot sits neatly into the open hand without jarring the fingers or thumb.

Function

Following on from the previous flinch we strike the attacker by pressing the palm forward and down onto their face as the foot rises up to strike the pelvis from underneath.

10.4 Locking in

As your weight transfers forward, step down with the right foot and pivot the waist to the side. At the same time the left palm wraps around the right fist and pulls the right fist back to the left side of the chest

Function

Against a potential grab of the right arm the whole body is used to break the grip. By wrapping the left hand around the right fist the right arm gains added leverage.

10.5 Driving the elbow

As the weight continues to move, forward through the right side of the body the right foot charges out into a right forward step. At the same time the left palm supports the right fist and you drive forward with the right elbow.

Function

This movement follows the previous grab escape and repels the attacker by way of a powerful elbow thrust.

Step 11

11.1 Pivot and insert hand

Eyes look to the left and by pivoting to the left you drop your rights knee to create a Unicorn step. At the same time, the left palm fans by the right ear and the right hand opens to thrust the fingers forward and down.

Function

Using the palm to fan an attack past your ear you drop down to move offline and strike the groin or ribs with the fingers or open hand.

Step 12

12.1 Binding inside

Without changing body position the right arm folds up. The right hand curls unto a fist and settles in line with the right ear.

Function

After the previous counter the right hand draws up to cover the head from a potential attack from the right side.

12.2 Elbow sweep and pad step

Roll the right elbow up, forward and out until the face of the fist comes to rest on the side of the head. Step around with the right foot to ninety degrees. Settle the weight onto the right foot.

Function

By using the principle of the elbow sweep you can clear away an attacker’s upper body and break their balance. In combination with the pad step, the connection between upper, middle and lower aspects of the trunk can be split which switches off their ability to use their body weight against you. From this split position the attacker is extremely vulnerable to counter attack.

12.3 Empty step punch

Step straight out with the left foot but keep all of the body weight on the right foot, forming an Empty step. At the same time the left hand collapses into a fist and punches strongly to the front.

Function

After using the elbow clear and a quick side step you can capitalise on the opportunity to drive the fist home.

Finish

Finish 1 – raise palms and inhale
Draw back the left foot into a Thunderbolt Step. As the weight settles evenly the palms raise up until the upper arms are in line with the shoulders.

Function

The function of the finish is to withdraw from the mindset of the form and return to stillness at the end of the form. By bringing the focus down to the Dan Tien the mind settles and our focus returns to normal. During the inhale we draw in all of the aggressive energy that we may have created and on the exhale we release it from the cells of the body so that our energy field does not hold onto it. In addition the finish allows us to re-oxygenate the cells of the body that have been working hard during the form, so that we may finish invigorated.

Finish 2 – left foot in to right palms face the floor

Left foot moves in to meet the right as the palms turn over to face the floor. Settle weight down and bring focus to the Dan Tien (in the space of the pelvis).

Finish 3 – palms descend to Dan tien

Continuing the movement, the palms descend until they reach the level of the bottom of the navel and the focus should now be in the Dan Tien.

Finish 5 – Thunderbolt Step
Left foot shifts out to a Thunderbolt Step as the hands fall away and come to rest on the thighs.
Salute

Left foot shifts to meet the right as the palms meet and the thumbs point to the Heart Centre in the middle of the chest.

Take a moment to become aware of the life-force of the body and silently recite Ah Mi Tuo Fo – Respect and acknowledgement of the light within.

Please follow link at end of paragraph to view clip on Broadsword foundations.

This clip shows some foundational movements for the Dan Dao - Single Broadsword.

Apart from the Broadsword these exercises set a good foundation for most short weapons. A short weapon is a weapon that is usually used in one hand.

http://www.youtube.com/watch?v=6pHvc2IJiGc

Xiao Hong Quan was developed during the Qing Dynasty and remains a major style in Shaolin Monastery to this day.

When the monastery lost its library in the fire of 1928 almost all of the martial manuscripts were lost. Fortunately, the training manuals for Xiao Hong and Da Hong survived and allowed these forms to endure and prosper.

Xiao Hong Quan means Small Flood Boxing. Another common translation of the name is Small Red Boxing.

Small and Big

In this context the term “Small” means concise, fundamental, base principles where as the term “Da” (Big) means expanded or variation principles.

In Shaolin Quan there is often a good deal of confusion over which versions of forms are Big or Small as a “Big” form can be a fraction of the size of a “Small” one. A good example of this is Cannon Boxing (Pao Quan) in which the Da Pao Quan (Big Cannon Boxing) is about a quarter of the size of the Xiao Pao Quan (Small Cannon Boxing).

Understanding the importance of Xiao and Da is vital to the mastery of Shaolin Quan.

In the case of Xiao Hong and Da Hong there has been a great deal of conjecture about which form came first and whether Xiao Hong is a stripped down version of Da Hong or whether Da Hong is created from Xiao Hong. None of this really matters.

It is more than likely that both forms evolved over some time and as each evolved both were revised. Even the current versions are constantly in a process of revision and development.

There are versions of Lao Jia Hong Quan, Old Style Flood Fist, which is likely to be the ancestor of Xiao Hong Quan. In this form the movements of Xiao Hong Quan are clearly seen but the order and complexity of this style make this a challenge even for intermediate practitioners.

Red Vs Flood

The term Hong can mean both Red or a Flood and depending on the teacher involved these names are being used for the same style.

Red, in this context, is a family name. As Shaolin Quan spread into lay circles during the Qing Dynasty this style developed into complete Shaolin derived styles in their own right and there are many variations on Hong Quan among the Northern Chinese systems.

Some practitioners have drawn a connection from the Shaolin Hong Style and the Southern Hong Jia Quan (Hung Gar Kune). There are no historical or technical/functional reasons to prove this connection.

With the popularity of the Hong (Red) title being used in Northern China the Shaolin Xiao Hong Quan has become commonly known as the Small Red Boxing style.

There is, however, another meaning to the name Xiao Hong Quan which I feel is more accurate in explanation – Small Flood Boxing.

The term “Flood” denotes a method of power generation in which the practitioner draws strength up from their connection to the ground and undulating this strength through the body until it explodes out of the body in a wave motion. The roll back and crash forward action of the principle gives us the name “Hong” meaning “Flood”.

Xiao Hong Quan in Shan Men Shaolin Quan

In Shaolin Quan there is no one version of any form that is the one true form.

Each and every Shifu (Master) has his or her own version and with a popular form like Xiao Hong this is most definitely the case.

Although there are many different versions of Xiao Hong Quan they all, for the most part, contain the same core principles and are therefore correctly Xiao Hong Quan.

This version of Xiao Hong Quan, which is taught in the curriculum of Shan Men Shaolin Quan, combines several interpretations into one form. This version of Xiao Hong Quan contains less repetition of structures as expansive variations are included directly in the pathway of the style thus giving the practitioner a more expansive education in the Shaolin Xiao Hong Style.

History

The Shan Men Shaolin Mezong Quan system is a revised and refined form of the Shaolin Mezong Qi Fa Quan system as taught by Shi De Chao. Shi De Chao is now retired from active teaching of Gong Fu and his system is now almost extinct (It should be noted that this is not the Shi De Chao who is commonly seen in Shaolin Temple documentaries and is still a practicing monk of the Shaolin Temple).

In 1991 Shifu Jason Parks started to study under Shi De Chao and was the Gatekeeper of the system from 1995 until 2006 when he resigned from the position. At request of Shi De Chao, Shaolin Mezong was taught at MGA for just over a year until a move to Tasmania ended the regular classes in Canberra. With the revised MGA curriculum coming out in 2007 the Mezong training was moved into the large Black Sash options.

Shaolin Mezong Qi Fa Quan

The Shaolin Labyrinth of Shadows Heuristic Learning Boxing is an esoteric style founded by Shi De Chao in the late 1980’s. Originally a master of Jin Wu Guan Gong Fu (Chin Woo School), Shi De Chao was also highly skilled in Shaolin Quan, Ju Jutsu, Karate, Western Boxing and Jeet Kune Do. He became a Shaolin Disciple under Shi Su Xie and through his study of Buddhist martial principles, he developed the Shaolin Mezong Qi Fa system.

The origins of Shaolin Mezong Qi Fa Quan system lie in a range of Southern and Northern Chinese styles, as well as the other martial arts that Shi De Chao was proficient in. However, it is a classical system in that it is not an amalgamation of mismatched techniques but it is in fact a refined system created from clearly defined principles and formula. However, in the development of his Mezong, Shi De Chao also inadvertently developed fundamental flaws that meant that the practitioner could not reach their full potential.

The base combat principles were extraordinary but the ethics and philosophy of the system caused a great deal of harm to those who practiced it. Sadly Shi De Chao’s Shaolin Mezong is almost extinct due to this constant mental poisoning of its practitioners.

However there is light at the end of the tunnel. Once the harmful aspects of the system, such as the distortions of its philosophy and misunderstandings about its teaching processes were removed practitioners are now getting the benefits that the Shaolin Mezong system offers.

The new system

The new system of Shan Men Shaolin Mezong Quan is much more streamlined than its predecessor. Concepts and functions that were touched upon academically are now part of an integrated system that is functional, understandable and usable. Even when compared to the earlier curriculum that was taught at MGA this new refined system is light years ahead and fully harmonious with the philosophy and teachings of Mountain Gate Academy. Instead of comparing the differences I would like to simply present you with the structure of the new system – in the next post.